Alfred Palmer (American, 1906-1993) Large pipe elbows for the Army are formed at Tube Turns, Inc., by heating lengths of pipe with gas flames and forcing them around a die, in Louisville, Kentucky, in 1941
1941
4 x 5 Kodachrome transparency
Alfred Palmer/OWI/LOC
Kodachrome sheets 1941-1943
This is the second of a two-part posting on the large format Kodachrome colour transparency photographs of the American photographer Alfred Palmer taken during 1941-1943.
This man was a true master of his craft. Look at the lighting in the first three photographs. Palmer really understood the theatre of the scene he was photographing. The first photograph, an inanimate object picturing an elemental force, brings me to tears when looking at it. Too sentimental, too emotional? I don’t think so… just an amazing experience from a magnificent photograph.
Dr Marcus Bunyan
.
Please click on the photographs for a larger version of the image. Many thankx to the Library of Congress for allowing me to publish the photographs in the posting. No known copyright restrictions on any of the photographs.
Alfred Palmer (American, 1906-1993) Casting a billet from an electric furnace, Chase Brass and Copper Co., Euclid, Ohio. Modern electric furnaces have helped considerably in speeding the production of brass and other copper alloys for national defense. Here the molten metal is poured or cast from the tilted furnace into a mold to form a billet. The billet later is worked into rods, tubes, wires or special shapes for a variety of uses
February 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI/LOC
Alfred Palmer (American, 1906-1993) Crane operator at Tennessee Valley Authority’s Douglas Dam
June 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) An employee in the drill-press section of North American’s huge machine shop runs mounting holes in a large dural casting, in Inglewood, California, in October of 1942
October 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI/LOC
Alfred Palmer (American, 1906-1993) North American Aviation drill operator in the control surface department assembling horizontal stabilizer section of an airplane. Inglewood, California
October 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) Here’s our mission. A combat crew receives final instructions just before taking off in a mighty YB-17 bomber from a bombardment squadron base at the field, in Langley Field, Virginia, in May of 1942
May 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI/LOC
Alfred Palmer (American, 1906-1993) Hitler would like this man to go home and forget about the war. A good American non-com at the side machine gun of a huge YB-17 bomber is a man who knows his business and works hard at it
May 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI/LOC
Alfred Palmer (American, 1906-1993) Young woman employee of North American Aviation working over the landing gear mechanism of a P-51 fighter plane. Inglewood, California.
October 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) Working on the horizontal stabilizer of a “Vengeance” dive bomber at the Consolidated-Vultee plant in Nashville
February 1943
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) Testing electric wiring at Douglas Aircraft Company. Long Beach, California
October 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) Truck driver at the Tennessee Valley Authority’s Douglas Dam
June 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) Experimental staff at the North American Aviation plant in Inglewood, Calif., observing wind tunnel tests on a model of the B-25 (“Billy Mitchell”) bomber
October 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) An experimental scale model of the B-25 plane is prepared for wind tunnel tests in the plant of the North American Aviation, Inc., Inglewood, California. The model maker holds an exact miniature reproduction of the type of bomb the plane will carry
October 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI/LOC
Alfred Palmer (American, 1906-1993) Parris Island S.C., barrage balloon
May 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) Women are trained as engine mechanics in thorough Douglas training methods, at the Douglas Aircraft Company in Long Beach, California, in October of 1942
October 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI/LOC
Alfred Palmer (American, 1906-1993) Annette del Sur publicizes a salvage campaign in yard of Douglas Aircraft Company, in Long Beach, California, in October of 1942
October 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI/LOC
Alfred Palmer (American, 1906-1993) Annette del Sur publicizing salvage campaign in yard of Douglas Aircraft Company. Long Beach, California
October 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) Engine installers at Douglas Aircraft in Long Beach, California
October 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) P-51 “Mustang” fighter plane in construction, at North American Aviation, Inc., in Los Angeles, California
c. 1942
4 x 5 Kodachrome transparency Alfred Palmer/OWI/LOC
Kodachrome sheets 1941-1943
This is the first of a two-part posting on the large format Kodachrome colour transparency photographs of the American photographer Alfred Palmer taken during 1941-1943. I absolutely adore these photographs. While today they might seem overly posed and almost surreal in their depiction of men and women at work in the factories of the home front during the Second World War, these are epic canvases of colour, light and form. While Eugène Atget’s photographs may well have been “Documents for artists”, I believe that Alfred Palmer’s photographs can be seen as “Documents for photographers.” They teach later generations the value of craft, of an understanding of the technical aspects of the medium (both camera and film) coupled with the imaginative use and capture of light, colour and pose. Look at the photograph Noontime rest for an assembly worker at the Long Beach (October 1942, below) – have you ever seen such use of colour in the 1940s: red socks, blue slacks, beige shirt, green lunch box and silver background. Like one of those old films in Technicolor, just so beautiful!
While these photographs are masterpieces of formalism, lighting, tone, texture and control, they also transcend their subject matter. Observe the image P-51 “Mustang” fighter plane in construction, at North American Aviation, Inc., in Los Angeles, California (c. 1942, above) for example, to comprehend how this master photographer saw this image, how he understood the potential of the subject matter to shine (on so many levels) and then was able to capture it and let it speak for itself. Considering the conditions under which he would have been working (in cramped factories) and the fact that he would have had to light everything himself, Palmer has recorded a remarkable body of work. All captured on the wonderful Kodachrome film in large format 4″ x 5″ sheets. What a loss to photography this film is.
These photographs deserve to be more widely known and appreciated than they are at present. Love em, love em, love them!
Dr Marcus Bunyan
.
Many thankx to the Library of Congress for allowing me to publish the photographs in the posting. No known copyright restrictions on any of the photographs.
Alfred Palmer (American, 1906-1993) A view of the B-25 final assembly line at North American Aviation’s Inglewood, California, plant
Photo published in 1942
4 x 5 Kodachrome transparency Alfred Palmer/OWI/LOC
Alfred Palmer (American, 1906-1993)
B-25 bomber plane at North American Aviation being hauled along an outdoor assembly line. Kansas City, Kansas
October 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) Servicing an A-20 bomber, Langley Field, Va.
July 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) P-51 “Mustang” fighter in flight, Inglewood, California, The Mustang, built by North American Aviation, Incorporated, is the only American-built fighter used by the Royal Air Force of Great Britain
October, 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI/LOC
Alfred Palmer (American, 1906-1993) Sunset silhouette of a flying fortress, at Langley Field, Virginia, in July, 1942
July 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI/LOC
Alfred Palmer (American, 1906-1993) Light tank going through water obstacle. Fort Knox, June 1942
June 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) Tank crew standing in front of M-4 tank, Ft. Knox, Kentucky, June, 1942
June, 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI/LOC
Alfred Palmer (American, 1906-1993) Army tank driver at Fort Knox, Kentucky
June 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) Lieutenant “Mike” Hunter, Army pilot assigned to Douglas Aircraft Company, Long Beach, Calif.
October 1942
4 x 5 Kodachrome transparency
Alfred Palmer/LOC
Alfred Palmer (American, 1906-1993) Lieutenant ‘Mike’ Hunter, Army test pilot assigned to Douglas Aircraft Company, Long Beach, California
October 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred T. Palmer 1906-1993
Born in San Jose, California, Palmer was an avid photographer from an early age, meeting the young Ansel Adams in Yosemite in 1916. He was hired on as a cadet on the Dollar Lines President Monroe. He was 19 years old. This would be the first of his 23 trips around the world in the next 32 years. Palmer became the official photographer and worked aboard Dollar Line, Matson and Moore-McCormack Lines ships around the world shooting 100s of images with his Graflex camera. He would trade with other crew members for daytime shifts so he could go ashore and photograph everything he saw.
In 1938, he packed cameras and darkroom equipment into his car and set out across America documenting everything that captured his interest from cows and pigs and corn to towns, cities, people and industry. He would develop the film in the bathrooms of the tourist homes and auto courts every night. He sold the negatives for a dollar each for use in educational books. He made contact prints of each one which are included in his vast portfolio of work.
In 1939 when Hitler attacked Poland the United States ranked twentieth as a world military power. In June of 1940 President Roosevelt and Congress passed a bill for the building of a major two ocean navy. At that time Roosevelt formed the National Defense Advisory Commission of the Office of Emergency Management (OEM) and Palmer was chosen to head the photography department. To rally and inform citizens about the use of their tax dollars and resources, Palmer was sent out to photograph Americans building what Roosevelt termed the Arsenal of Democracy. Aware of the power of mass media, the OEM wanted to provide images which would vividly convey their story in high contrast photos for magazines and newspapers. At the OEM, Palmer’s boss, Robert Horton, would brainstorm assignments, sending him into restricted industrial and military facilities. Once in the field, Palmer worked independently. He developed a style of quickly seeing the picture and catching the essence. Through this style he was able to convey the gritty texture and geometry of industrial form combined with the strong emotion of men and women attentive to their work. His dramatic tonal ranges and sharp focus approach reflect the early influence of his mentor, Ansel Adams.
In 1941, after the bombing of Pearl Harbor, Palmer became official photographer for the newly formed Office of War Information (OWI). He also served as technical expert with final say on photographic equipment and processes. Now his images had to illustrate all aspects of the war effort, from industrial workers to conservation of resources and citizen participation. Palmer’s emphasis was on the typical American hard at work on the home front. His photographs were also an integral part of the “women power” campaign to change the public attitude toward women joining the work force. He showed women as patriotic, glamorous and capable, working on fighter planes as well as assembly lines. Palmer also focused on the dedication and dignity of the black labor force and worked with the chief of the News Bureau Negro Press.
In 1942, the Farm Security Administration (FSA) was added as a joint agency with the OWI. Palmer and Roy Stryker shared creativity and conflict during those years in the dissident approaches to portraying America to herself. While Stryker’s unit showed a national self scrutiny of post depression America, Palmer sought to emphasise a moral building role through his photography. Palmer’s deep belief in promoting the spiritual strength of people permeates his entire career as photographer and filmmaker.
During his years with OWI Palmer worked with a number of significant photographers such as Esther Bubbly, Howard Leiberman, Gordon Parks, Dorothea Lang and Edward Steichen. Palmer’s artistic style was recognised by Steichen, who featured his photographs in the historic traveling exhibit “Road to Victory”, which opened at the Museum of Modern Art in 1942. Alfred Palmer generated thousands of photographs that were widely published in the major magazines and newspapers in the United States and abroad. His works were praised for their exceptional symbolic power and striking use of intense contrasts conveying the courage and determination that Roosevelt sought to arouse in the nation. Much of the vast collection of Palmer’s photographs (including rare colour transparencies) is housed in the National Archives and the Library of Congress.
Alfred Palmer passed away in 1993, leaving a legacy of life work that is unique in its very essence. This extensive collection of photographs and 16mm colour film encompassing five decades of world cultures, World War II history and America’s maritime heritage becomes increasingly significant as a testimony to our humanity.
Text from the Alfred T. Palmer website [Online] Cited 13/10/2013 no longer available online
A Kodachrome sheet film box that held 2 x half a dozen sheets of film in 2 sheet packages, from around the time Alfred Palmer would have been using the same film. Notice the ISO/ASA rating of 10. Expiry date of October 1944.
Alfred Palmer (American, 1906-1993) American mothers and sisters, like these women at the Douglas Aircraft Company plant in Long Beach, California, give important help in producing dependable planes for their men at the front
October 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) Assembling switchboxes on the firewalls of B-25 bombers at North American Aviation’s Inglewood, California, factory
October 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) Workers installing fixtures and assemblies in the tail section of a B-17F bomber at the Douglas Aircraft Company plant in Long Beach, California
October 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) Engine inspector for North American Aviation at Long Beach, California
June 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) Punching rivet holes in a frame member for a B-25 bomber at North American Aviation. Inglewood, California
June 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) Inglewood, California. Riveting team working on the cockpit shell of a C-47 heavy transport at North American Aviation.
“The versatile C-47 performs many important tasks for the Army. It ferries men and cargo across the oceans and mountains, tows gliders and brings paratroopers and their equipment to scenes of action.”
1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) Noontime rest for an assembly worker at the Long Beach, Calif., plant of Douglas Aircraft Company. Nacelle parts for a heavy bomber form the background
October 1942
4 x 5 Kodachrome transparency
Alfred Palmer/OWI
Alfred Palmer (American, 1906-1993) Two assembly line workers at the Long Beach, Calif., plant of Douglas Aircraft Company enjoy a well-earned lunch period, Long Beach, Calif. Nacelle parts of a heavy bomber form the background
October 1942
4 x 5 Kodachrome transparency
LOC
Exhibition dates: 11th November 2012 – 3rd February 2013
This is the biggest posting on one exhibition that I have ever undertaken on Art Blart!
As befits the gravity of the subject matter this posting is so humongous that I have had to split it into 4 separate postings. This is how to research and stage a contemporary photography exhibition that fully explores its theme. The curators reviewed more than one million photographs in 17 countries, locating pictures in archives, military libraries, museums, private collections, historical societies and news agencies; in the personal files of photographers and service personnel; and at two annual photojournalism festivals producing an exhibition that features 26 sections (an inspired and thoughtful selection) that includes nearly 500 objects that illuminate all aspects of WAR/PHOTOGRAPHY.
I have spent hours researching and finding photographs on the Internet to support the posting. It has been a great learning experience and my admiration for photographers of all types has increased. I have discovered the photographs and stories of new image makers that I did not know and some hidden treasures along the way. I hope you enjoy this monster posting on a subject matter that should be consigned to the history books of human evolution.
**Please be aware that there are graphic photographs in all of these postings.** Part 1, Part 3, Part 4
Dr Marcus Bunyan
.
Many thankx to the Museum of Fine Arts, Houston for allowing me to publish some of the photographs in the posting. Please click on the photographs for a larger version of the image.
Photographic Essays
14. Photographic Essays showcases selections from two distinct storylines: Larry Burrows’ Yankee Papa 13, published in Life magazine; and Pulitzer Prize winner Todd Heisler’s series Final Salute, for Denver’s Rocky Mountain News. Burrows follows a man through a rescue attempt in Vietnam; Heisler documents a Marine major assigned to casualty notifications. (12 images, 6 from each photographer, as well as the magazine and newspaper in which the series were published)
The view from inside Marine helicopter Yankee Papa 13, Vietnam, March 1965
The caption that accompanied this photograph in the April 16, 1965, issue of LIFE: “From the downed YP3 in the background, the wounded gunner, Sergeant Owens, races to Yankee Papa 13, where Farley waits in the doorway.”
The caption that accompanied this photograph in LIFE: “Farley, unable to leave his gun position until YP13 is out of enemy range, stares in shock at YP3’s co-pilot, Lieutenant Magel, on the floor.”
Farley and Hoilien, dead tired, linger beside their helicopter and continue to talk over the mission
In a supply shack, hands covering his face, an exhausted, worn James Farley gives way to grief
The night before the burial of her husband’s body, Katherine Cathey refused to leave the casket, asking to sleep next to his body for the last time. The Marines made a bed for her, tucking in the sheets below the flag. Before she fell asleep, she opened her laptop computer and played songs that reminded her of “Cat,” and one of the Marines asked if she wanted them to continue standing watch as she slept. “I think it would be kind of nice if you kept doing it,” she said. “I think that’s what he would have wanted.”
Executions
15. Executions are among the frequent photographs in wartime: Officials and the public seek confirmation that the enemy is dead; the executioners often forcefully request images to signify their power. An 1867 photograph by François Aubert shows the bloodied shirt of Maximilian I after the Austro-Hungarian archduke was shot by a nationalist firing squad in Mexico. Eddie Adams’ Pulitzer Prize-winning photograph of the Vietnamese police chief shooting a Viet Cong prisoner came to symbolise the brutality of the Vietnam War. Jahangir Razmi’s Firing Squad in Iran (1979) also won a Pulitzer; Razmi’s newspaper, Ettela’at, ran the photograph without credit, in order to protect him. He was not recognised until a 2006 Wall Street Journal article. (20 images)
Eddie Adams (American, 1933-2004) Saigon Execution (General Nguyen Ngoc Loan executing a Viet Cong prisoner in Saigon)
February 1, 1968
Silver gelatin photograph
Although the image brought Adams the Pulitzer Prize, he would express discomfort with it later in life.
“The general killed the Viet Cong; I killed the general with my camera. Still photographs are the most powerful weapon in the world. People believe them; but photographs do lie, even without manipulation. They are only half-truths. … What the photograph didn’t say was, ‘What would you do if you were the general at that time and place on that hot day, and you caught the so-called bad guy after he blew away one, two or three American people?” (Wikipedia)
For Adams, the lie was the omission of context – that the plainclothes Lem had allegedly just been caught having murdered not only South Vietnamese police but their civilian family members; that Loan was a good officer and not a cold-blooded killer… Like any great work of art, Adams’ serendipitous photograph took on a life of its own… and a tapestry of meanings richer than its creator could ever have intended.
Headsman. “1968: Nguyen Van Lem,” on the ExecutedToday website February 1st, 2009 [Online] Cited 03/09/2022
Eddie Adams Talk About The Saigon Execution Photo
Leisure Time
16. Leisure Time is another popular subject. This section features images that range from a 1958 photograph (by Loomis Dean) of an Elvis Presley serenade in the barracks to Stephen Colbert’s 2009 Iraq appearance in a camouflage suit (by Moises Saman). More-intimate moments show an off-duty serviceman sleeping on a cot next to a wall of pinups (by Edouard Gluck) as well as another serviceman listening to music on headphones (by Alvaro Zavala). Army Staff Sergeant Mark Grimshaw captures an American soldier stationed in Iraq, tending grass that the soldier has grown. (The soldier’s wife sent him seeds from the United States, but he couldn’t get the grass to grow until he purchased sod from a local Iraqi farmer.) (21 images)
Álvaro Ybarra Zavala (Spanish, b. 1979) Untitled
2003
From the series Apocalypse
More images and text from the sequence can be seen at Álvaro Ybarra Zavala’s Projects web page
17. Support features photographs of people planning operations and supplying troops behind the front, from flying troops and supplies to the battlefront, to making bread in factories and building temporary bridges. One iconic 1942 photo by Alfred Palmer shows women aircraft workers polishing the noses of bomber planes. A 1915-18 picture by an unknown photographer depicts two men working early battery-operated phones. In 2001, James Nachtwey captured a firefighter walking over burning rubble at the World Trade Center in New York. (13 images)
Alfred Palmer (American, 1906-1993) Women aircraft workers finishing transparent bomber noses for fighter and reconnaissance planes at Douglas Aircraft Co. Plant in Long Beach, California 1942
Gelatin silver print
The Museum of Fine Arts, Houston, gift of Will Michels in honor of his sister, Genevieve Namerow
18. Medicine, divided into two subsections, presents doctors and nurses at work at the front, and individuals who are surviving with injuries. “Wartime Medicine“presents the conditions of medical operations on the battlefield, from Vo Anh Khanh’s photograph of North Vietnam surgeons working in a swamp to Larry Burrows’ emergency dressing station in Vietnam. “Subsequent to War“showcases survivors. A 2007 photograph by Peter van Agtmael shows a soldier with a prosthetic leg playing with his two sons and light sabres in a field. A 1985 photograph by Michael Coyne pictures a rehabilitation centre stacked with braces and artificial limbs for the victims of war in Iran and Iraq. Nina Berman’s 2004 portrait of PTSD patient Randall Clunen, from the series Purple Hearts, relates the psychic scars of war. (22 images)
Michael Coyne (Australian, b. 1945) Rehabilitation Centre – Iran
1985
Type C print
55cm x 36.6cm
Nina Berman (American, b. 1960) Randall Clunen
2004
From the series Purple Hearts Pigment print
28 x 28 in.
Faith
19. Faith presents devotion during wartime. The Oath of War (1942), by Mark Markov-Grinberg, taken minutes before a regiment attacked an entrenched German defensive position, shows a soldier kissing his gun. A 1918 image by an unknown photographer depicts a soldier’s grave in France, marked by a wooden cross and the soldier’s helmet, under which his Bible was found. Naval photographer R. Woodward’s 1945 photograph depicts a shipboard service performed after a Japanese plane dropped two bombs on the ship; the officiating chaplain is possibly Father O’Callahan, who subsequently received the Medal of Honor. Three days before the start of the Iraq War in 2003, Hayne Palmour IV captured the baptism of a Marine by a Navy chaplain in Kuwait, in a pool of water constructed from sandbags. (12 images)
Mark Borisovich Markov-Grinberg (Russian, 1907-2003) The Oath of War (Soviet soldier kissing his rifle) 1939, printed later
Ferrotyped gelatin silver print
R. Woodward, USNR, American (birth date unknown) Religious services under the blasted flight deck of the USS Franklin March 1945
Gelatin silver print, the Museum of Fine Arts, Houston, gift of St. Paul’s United Methodist Church
Religious services under the blasted flight deck of the USS Franklin (CV-13), for the 807 men killed from two bomb blasts while off the coast of Japan. The only American warship to suffer greater losses was the battleship Arizona at Pearl Harbor. March 1945 by R. Woodward, USNR.
Refugee
20. The focus of Refugee moves away from the combatants’ standpoint and into the perspectives of others, including individuals who have been displaced as well as left behind. This section presents people either fleeing battle or living as expatriates in a new place. The Pulitzer Prize-winning image shot in 1965 by Sawada Kyoichi shows a Vietnamese mother and her children wading across a river to escape from a U.S. napalm strike on their village. An image by Hilmar Pabel depicts a family fleeing across the border in the Bavarian Forest to the West, escaping in the night carrying suitcases. A famous 1993 picture by Gilles Peress, of hands pressing against both sides of a windowpane, documents the evacuation of Jews from Sarajevo. A 1994-1995 portrait by Fazal Sheikh depicts a mother and her two children sitting on the ground somewhere in Tanzania; her newborn’s name, Makantamba, means “one who was born at the time of war.” Jonathan C. Torgovnik’s Valentine with her daughters Amelie and Inez, Rwanda (2006) is taken from the series Intended Consequences. An image by Alexandria Avakian depicts a Lebanese refugee in traditional dress mowing a lawn in suburban Michigan. (8 images)
Sawada Kyoichi (Japanese, 1936-1970) Mother and children wade across river to escape U.S. bombing. Qui Nhon, South Vietnam
September 1965
Gilles Peress (French, b. 1946) Evacuation of the Jews, Skanderia, Sarajevo, Bosnia
1993
From the book Farewell to Bosnia, 1994
Gelatin silver print
16 x 20 inches
Alexandria Avakian (American, b. 1960) Dearborn, Michigan, June 2002: Tufaha Baydayn, a Lebanese American, fled Lebanon’s civil war in the 1970s 2002
Art Blart _ art and cultural memory archive 
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